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In Rome, his fresco painting of Parnassus at Villa Albani gained him a reputation as a master painter.

The appointment of Mengs in 1749 as first painter to Frederick Augustus, elector of Saxony did not prevent his spending much time in Rome, where he had married Margarita Quazzi who had sat for him as a model in 1748, and abjured the Protestant faith, and where he became in 1754 director of the Vatican school of painting, nor did this hinder him on two occasions from obeying the call of Charles III of Spain to Madrid. After the completion of this work in 1777, Mengs returned to Rome, and there he died, two years later, in poor circumstances, leaving twenty children, seven of whom were pensioned by the king of Spain.

There Mengs produced some of his best work, and specially the ceiling of the banqueting-hall of the Royal Palace of Madrid, the subject of which was the Triumph of Trajan and the Temple of Glory. His portraits and autoportraits recall an attention to detail and insight, often lost from the grand manner paintings.

Besides numerous paintings in the Madrid gallery, the Ascension and St Joseph at Dresden, Perseus and Andromeda at Saint Petersburg, and the ceiling of the Villa Albani must be mentioned among his chief works.

In 1911, Henry George Percy, 7th Duke of Northumberland, possessed a Holy Family, and the colleges of All Souls and Magdalen, at Oxford, possessed altar-pieces by Mengs's hand.

In his writings, in Spanish, Italian and German, Mengs has put forth his eclectic theory of art, which treats of perfection as attainable by a well-schemed combination of diverse excellences Greek design, with the expression of Raphael, the chiaroscuro of Correggio, and the colour of Titian.

He would have fancied himself the first neoclassicist, while in fact he may be the last flicker of Baroque art.

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